Gary Naylor - Page 27

Recreating the political tensions that swirled around John and Yoko's Bed-In protest of 50 years ago, this play with music strives for a radical approach to its material, but forgets some theatre basics.

Berenice is something of a forgotten delight, its tortuous plotting more than offset by its splendid arias and delightful characters, with plenty of contemporary resonance on hand if you need it.

The White Crow focuses on Rudolf Nureyev's life from birth until his sensational defection at the age of 23.

Wolfie glows with the energy and hope of youth, even as it paints a grim picture of a world stacked against it by the alienating forces of a society retreating from its obligations to its children.

I Is A Strange Loop pits X against Y as the world described mathematically butts up against the world described theatrically - and they discover that each needs the other to be whole.

John Godber talks about his life in theatre and about his Brexit flavoured play, Scary Bikers, running at Trafalgar Studios in April.

Othello remains as relevant today as ever it were, Phil Willmott's adaptation setting it in the Raj of 1919, but it's as much in the White House and Palace of Westminster of 2019.

A bold and often beautifully staged production that makes women men and men women to throw light on the often brutal text. What emerges is plenty of new insight, but the nagging doubt persists that the play just isn't very good.

The Crown Dual piles laughs upon laughs in a madcap parody of the Netflix show that you don't even need to have seen in order to enjoy this hilarious two-hander.

The Faction's adaptation of Patricia Highsmith's dazzling novel, The Talented Mr Ripley, goes back its roots to find a man as complicated, seductive and relevant as ever.

The Gershwins' sublime music and lyrics rescue a show hamstrung by a confused and clumsy book and some very familiar characters.

Philip Bretherton talks about his role as Tony Benn in TONY'S LAST TAPE, revived at the Clapham Omnibus Theatre in April.

The Project is set in an in-between space in history, not freedom, but not yet the death camps, but its fails to explore the possibilities that environment suggests, lost in too many words and too little credibility.

Seen for the first time in 35 years, Athol Fugard's play loses none of its relevance as two men and one woman fall apart under the strain of living under the Apartheid regime.

Let's Dance International Frontiers - LDIF19 - launches on April 29th - International Dance Day - and focuses on diversity in dance by showcasing new work from emerging local talent and internationally acclaimed performers and companies. LDIF19's theme is Black Dance: A Contemporary Voice, which will be the focal point of discussion at the conference on April 30th.

An often beautiful, sometimes confusing, work that uses dance and technology to move from the rigid certainties of three dimensions into the threats and opportunities of the fourth.

Stephen Adly Guirgis's play is as relevant today as ever, its coruscating examination of the nature of American justice and religious redemption losing none of its power a generation on from its first outing.

Cheating Death fails to solve the considerable problems of writing and staging farce in an ambitious show that falls well short of expectations.

The Royal Opera House revives its 2016 Cosi with all the mischievous wit and splendid music of Mozart and Da Ponte - but also lets us in on the game within the game - and the price that's paid

Charlotte Randle talks to BroadwayWorld UK about her role in Cougar, a new play, at the Orange Tree Theatre